"Fashion - in its broadest sense - has always been the individual and collective ritual that tangibly reflects the psychodramas, the contradictions contained in the events of the history of the world punctuating their details." (A. Bottero 1990) This matter has often been criticized because it was not properly understood and relegated purely to a frivolous and consumerist attitude which, for most of the 20th century, can be defined as partly true because it is still closely linked to the female figure who at the time had no still conquered a solid social role. But fashion, just like any language, has its own codes and rules, which in part make it look like a game whose rules were initially established by those holding the "power" and economic capacity, but which were then gradually subverted by the people who established new codes and requirements making fashion adapt to them. Basically we are all our own designers, and each of us does a fantastic job of assembling our own image and character which is perceptible through our choices. But do you really believe that our choices are actually unrelated and independent from the history of previous fashion? This volume aims to analyze and investigate the wonderful game of fashion, in which the "players" have often been able to tell it through a critical eye and clearly different from the shared and traditional canons that existed in the various historical periods, sometimes managing to make them "mass" and therefore not so much debated. An overview of how media such as photography and the artists who worked on it were able to anticipate social issues that (sometimes) are still "hot" today. A research that solemnly tells who made history, and who also changed it.
“La moda – nella sua accezione più ampia - è da sempre il rito individuale e collettivo insieme che riflette in modo tangibile gli psicodrammi, le contraddizioni contenute negli avvenimenti della storia del mondo punteggiandone i particolari.” (A. Bottero 1990) Spesso questa materia è stata criticata perché non compresa a dovere e relegata prettamente ad un atteggiamento frivolo e di consumismo cosa che, per gran parte del 900’, può essere definita in parte veritiera poiché ancora strettamente legata alla figura femminile che all’epoca non aveva ancora conquistato un ruolo sociale solido. Ma la moda, esattamente come ogni linguaggio, ha suoi codici e sue norme, che in parte la fanno assomigliare ad un gioco di cui le regole dapprima sono state stabilite da chi deteneva il “potere” e la capacità economica, ma che poi sono state via via sovvertite dal popolo il quale ha stabilito nuovi codici ed esigenze facendo sì che la moda si adattasse ad essi. In sostanza siamo tutti i designer di noi stessi, ed ognuno di noi compie un fantastico lavoro di assemblamento della propria immagine e del proprio carattere che è percepibile attraverso le nostre scelte. Ma credete davvero che le nostre scelte siano effettivamente slegate e indipendenti dalla storia della moda precedente? Questo volume ha lo scopo di analizzare e investigare sul meraviglioso gioco della moda, in cui spesso i “players” sono stati capaci di raccontarla attraverso un occhio critico e nettamente differente rispetto ai canoni condivisi e tradizionali che vigevano nei vari periodi storici riuscendo, talvolta, a renderli di “massa” e quindi non più tanto dibattuti. Un’overview su come i media quali la fotografia e gli artisti che vi lavorassero sono stati capaci di anticipare tematiche sociali che (a volte) tutt’ora risultano “scottanti”. Una ricerca che racconta in modo solenne chi la storia l’ha fatta, e l’ha anche cambiata.
Il gioco della moda. Come il connubio tra fotografia e moda ha influenzato la società e anticipato le tendenze
Saporito, Filomena
2021/2022
Abstract
"Fashion - in its broadest sense - has always been the individual and collective ritual that tangibly reflects the psychodramas, the contradictions contained in the events of the history of the world punctuating their details." (A. Bottero 1990) This matter has often been criticized because it was not properly understood and relegated purely to a frivolous and consumerist attitude which, for most of the 20th century, can be defined as partly true because it is still closely linked to the female figure who at the time had no still conquered a solid social role. But fashion, just like any language, has its own codes and rules, which in part make it look like a game whose rules were initially established by those holding the "power" and economic capacity, but which were then gradually subverted by the people who established new codes and requirements making fashion adapt to them. Basically we are all our own designers, and each of us does a fantastic job of assembling our own image and character which is perceptible through our choices. But do you really believe that our choices are actually unrelated and independent from the history of previous fashion? This volume aims to analyze and investigate the wonderful game of fashion, in which the "players" have often been able to tell it through a critical eye and clearly different from the shared and traditional canons that existed in the various historical periods, sometimes managing to make them "mass" and therefore not so much debated. An overview of how media such as photography and the artists who worked on it were able to anticipate social issues that (sometimes) are still "hot" today. A research that solemnly tells who made history, and who also changed it.File | Dimensione | Formato | |
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Filomena Saporito. "Il gioco della moda"_.pdf
Open Access dal 11/04/2024
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https://hdl.handle.net/10589/204801